Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic

The purpose of this article is to propose a cubist homiletic based on the Picasso-originated art movement known as cubism. To that end, I explore the twofold question: What is cubist preaching, and why do we need it today? It is a critical inquiry into a theology and methodology of cubist preaching and its contextual rationale. In particular, I adopt cubism’s artistic-philosophical routine of transcendental deconstruction and multi-perspectival reconstruction as the key hermeneutical and literary methodology for cubist preaching. This cubist way of preaching ultimately aims for the listener to encounter the Sacred in what I call an ubi-ductive way—a neologism made by conjoining the two terms, ubiquitous and -ductive, beyond what is possible through conventional inductive and deductive preaching

Ambiguous Space: the Research of Transparency and Shallow Space in Architecture

Concepts in transparency have evolved, given the improvements in constructive technologies, new theories in architecture, and social behavior. In this thesis, I will try to articulate the transition in the concepts of transparency, initiating with literal and phenomenal transparency that Colin Rowe and Slutzky discussed in their essay, Transparency, Literal and Phenomenal and propose ambiguous space, a new understanding of transparency through current case studies in architecture

Connecting Art and the Brain: An Artist's Perspective on Visual Indeterminacy

In this article I will discuss the intersection between art and neuroscience from the perspective of a practicing artist. I have collaborated on several scientific studies into the effects of art on the brain and behavior, looking in particular at the phenomenon of “visual indeterminacy.” This is a perceptual state in which subjects fail to recognize objects from visual cues. I will look at the background to this phenomenon, and show how various artists have exploited its effect through the history of art. My own attempts to create indeterminate images will be discussed, including some of the technical problems I faced in trying to manipulate the viewer's perceptual state through paintings. Visual indeterminacy is not widely studied in neuroscience, although references to it can be found in the literature on visual agnosia and object recognition. I will briefly review some of this work and show how my attempts to understand the science behind visual indeterminacy led me to collaborate with psychophysicists and neuroscientists. After reviewing this work, I will discuss the conclusions I have drawn from its findings and consider the problem of how best to integrate neuroscientific methods with artistic knowledge to create truly interdisciplinary approach

Harmonious architecture and kinetic linear energy

This is a chapter in a book based upon the work from an Erasmus International Project which took place in Athens in July 2012